Ingrid Ruudi discusses architects’ relationship with time and the various ways in which architects in their later years record their doings as history.
Teist põlve arhitekt Ralf väidab, et tal ei ole eriala suhtes illusioone; seda muljetavaldavama järjekindlusega seisab ta projekteerimisprotsessis arhitektuurse tuumidee säilimise eest. Arhitektiks olemine defineerib Ralfi kogu tegevust ja maailmavaadet töötegemisest reisimiseni – võib-olla ainult muusikal õnnestub hetkiti samavõrdse tähelepanu eest võistelda. Küsis Ingrid Ruudi.
Why not set a higher value on dispersal? Instead of living in just one place, and trying in vain to gather yourself together there, why not have five or six rooms dotted about Paris?
Most people are more or less consciously preparing for old age, the most ordinary and nationally approved preparation consisting in accumulating money into pension funds. Are we opening Pandora’s box when we ask how and if these most common investment funds affect environmental and social developments now and in the near future?
The nominees and winners of this year’s Maja and Sirp Publication Award were selected by historian, cultural critic and assistant professor at the University of Southern California Aro Velmet, who highlighted the articles’ bold takes on broader social issues.
Paide State Secondary School is an excellent example of the mutually complementary dialogue between a historical space and contemporary architecture.
Estonian Academy of Arts (EKA) master’s theses in interior architecture demonstrate an ability to raise serious global issues, and a polemical search for what interior architecture could contribute to their resolution.
Little was built following the re-establishment of Estonian independence in the early 1990s, however, the debates held and practices established largely came to set the foundations for the dominant issues in the architectural field in the past decades.
The stories we have heard ever since the beginning of the century about the merchandising of museums and the transformation of all culture into an unending festival are greatly exaggerated. The new cultural buildings are good examples of state-commissioned public spaces that are quite self-aware with no desire to go along with the general trends of commercialisation.
How does change in society reflect in architecture? In order to answer this question, we look back on the spatial design in the thirty years of regained independence. What kinds of spaces have accommodated us in the last three decades at work, in school and while enjoying culture? What have our homes been like?
